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Jewelry 



IVK 

C77 



NINETEENTH CENTURY 

Jewelry 

FROM THE FIRST EMPIRE TO THE FIRST WORLD WAR 



THE COOPER UNION MUSEUM 
FOR THE ARTS OF DECORATION 



ACKNOWLEDGMENT 

In assembling material for the exhibition, the Museum has received 
most helpful suggestions and information from the following, to 
whom are given most grateful thanks: 

Miss Christine Alexander 
John O. Green 
Melvin Gutman 
Harold Hubertus 
Miss Emmeline Sewell 
I. Snyderman 
William G. Syring 



The design on the cover is after a drawing by Felice Giani, 
No. 349 in the Catalogue 



Copyright 1955 by the Cooper Union Museum for the Arts of Decoration 



INTRODUCTION 

In the decorative arts the nineteenth century offers a greater variety 
of designs and styles than any other, and one of the most varied fields in this 
various era is jewelry. Before the French Revolution jewelry had been 
almost exclusively the prerogative of the very rich; pieces were, in conse- 
quence, quite rare. But by the death of Queen Victoria quantities of jewelry 
in the most and least precious of metals abounded, and no woman was so poor 
as not to own a ring or a brooch. While economic and political factors may 
in part explain this abundance they cannot explain the variety. Though the 
century was eclectic and repetitive, it will be treated here chronologically 
rather than stylistically. This method is selected for convenience, as the 
division into political periods seems a less arbitrary one than that of fashions 
or styles. 

Most of the precious jewelry of the century no longer exists: intrinsic 
value and changes in fashion have destroyed it. The pieces that do remain, 
even if not always the most costly, are not less interesting for being less 
valuable. These, designed to be worn during the day or on occasions less 
than grand, were usually more sensitive to changes in fashion than costly 
jewels. 

In addition to the pieces themselves some literary references do exist, but 
these are of less help in realizing the past than paintings and prints which 
show jewelry being worn. And more important than paintings and prints 
are designs and drawings for actual jewels. The most elaborate preliminary 
steps were taken for the most precious pieces of jewelry; hence the largest 
number of remaining drawings are for just those jewels which are now most 
scarce. Drawings from the hand of the jeweler or from his workshop are as 
expressive of his manner and treatment of an object as the jewel itself. 
Alternate schemes and variations of effect may be shown (Nos. 341, 355). The 
Cooper Union Museum is particularly fortunate in possessing over eight 
hundred designs and working drawings for jewelry; many from the nine- 
teenth century are here exhibited (Nos. 341 to 404). 

In rare instances both the pieces and its design still exist (Nos. 139, 395 
Fig. 5). Occasionally pieces were made from designs of earlier centuries 
(No. 234), or old pieces were accurately reproduced if their period happened 
to be currently fashionable (Nos. 53; 128, Fig. 10; 133; 140, Fig. 8; 274). 

France was the most important single country for the production of 
jewelry throughout the century. Though ideas may have originated in 
Italy or England, France was quick to make them fashionable, so the cen- 
tury is here treated according to the political periods of France. In this 



country, custom and practice have preserved, even into the present century, 
the distinction between orfevrerie, or goldsmiths' work, which in earlier 
centuries included jewelry; bijouterie, which is exclusively the making of 
jewelry; and joaillerie, or the setting of precious stones. 

At the end of the eighteenth century jewelry made and worn in France 
was of simple design and often of base metals (Nos. 2, 3, 7). The Revolution 
had abolished the legal status of the corporation of goldsmiths, a "master- 
piece" was no longer required of an apprentice; indeed apprenticeship was 
not compulsory and anyone who wished could enter the field. There was no 
longer any definition of standards of craftsmanship nor any legal standard 
for purity of materials. Models, schools and collections were dispersed. A 
division of labor was practiced: pieces were no longer designed and executed 
by the same man or even his workshop. Now it was common, where earlier 
it had been rare, for one craftsman to work from the design of another and 
the finished piece to be sold by a third. This practice was to increase 
throughout the century and at the end large establishments comprising 
designers, craftsmen and vendors were the exception. The political and 
economic reasons for a change of style at the beginning of the century are 
obvious enough. For a time steel buckles were more fashionable than 
silver. But even before the Revolution jewelry, and all decorative art, was 
becoming more severe in pattern. 

During the Directory (1795-1799) and Consulate (1799-1804) large 
amounts of jewelry, none very precious, were worn: earrings, necklaces, 
long sautoir chains about the waist and shoulders, bracelets at the shoulder, 
elbow and wrist and many rings. Gentlemen, besides wearing rings and 
seals as fobs (a fashion that remained popular until the middle of the cen- 
tury), also wore chatelaines, usually finely made of steel with gold or porcelain 
decoration (Nos. 7, 8). Though it became more popular later in Berlin, 
cast iron jewelry was made in 1789 in France. The new government made 
and hoped to exchange this for the more precious jewelry of patriotic citi- 
zens and to use the gold for reducing the national debt. In 1813 thousands 
of pieces of cast iron jewelry of considerable quality were made in Prussia 
to be given to those who donated their jewelry for the purchase of ammuni- 
tion to fight Napoleon. Cast iron jewelry continued to be made in the 
1820's and 1830*s in the gothick style. 

At the beginning of the nineteenth century neo-classic restraint had long 
since replaced rococo grace, but it was not until the First Empire (1804- 
1814) that archaeology dominated design. More than any previous century 
the nineteenth was in a position to exploit the past through this science. 
Greek and Roman intaglios and cameos were worn on the head, arms, body 
and even the toes; reproductions, often fine, were plentiful for those not 

4 



fortunate to possess old pieces (No. 6). Napoleon revived the pomp of 
Imperial Rome; like most parvenus, he emphasized a ceremony that required 
the ladies of his court to wear many jewels. Regardless of the demands of 
court ceremony the Empress enjoyed jewels, as may be seen in many of her 
portraits. 

These and other paintings of ladies of the First Empire in their jewels 
illustrate two features: the prominence of the tiara, and the ubiquity of 
the parure, or matched set of jewels. The tiara had not been fashionable 
for centuries; in the eighteenth century in court dress an aigrette or spray 
of jewels, sometimes holding feathers or flowers, was considered a sufficient 
ornament for the hair. Under the Empire a jewelled tiara (No. 352), often 
with a comb as well, was indispensable in court dress for ladies. It was as 
though the new ruling class, uncertain of its authority, wished its rank 
emphasized in the jewels of its ladies. Frequent return to fashion through- 
out the nineteenth century has removed much of their symbolic effect, 
though even today when the number of courts at which tiaras may be worn 
is notably smaller, they are considered customary for court dress. 

Emphasis on a parure of jewels was also characteristic of the Empire. 
Ensembles of tiara, comb, earrings, necklace, brooch and bracelets, all of 
the same motif (No. 351), were not an innovation of the period; but the 
larger part of all important jewelry of the period was made up in such sets. 
Parures of diamonds, emeralds and diamonds, rubies and diamonds, sap- 
phires and diamonds, opals and diamonds, and cameos were made, at con- 
siderable expense, for the Empress Josephine. These remained with her at 
the time of her separation; and new and even more costly parures were 
made for the Empress Marie-Louise. The parure offered the maximum 
amount of display and expenditure, for in the more important only precious 
stones, usually set with diamonds or cameos, were used, though the Empress 
Marie-Louise had parures of opals and one of cut steel. The fashion of 
the parure established under the Empire remained, though it never regained 
its dominance in court dress. Later examples were usually less costly and 
elaborate. 

The Empire represents the first developed style in jewelry of the nine- 
teenth century. Its aim was brilliance and opulence; an effect of con- 
spicuous consumption. The more costly pieces were well made and the 
high standards of craftsmanship lost at the end of the eighteenth century 
had been regained. 

With the return of the Bourbons (1814-1830) display of wealth and jewelry 
fell out of fashion. Louis XVIII was not fond of ceremony and the court 
did not provide a sympathetic background for rich jewels, nor did many of 
the returned emigres have the means to provide themselves with such, did 



they wish to. Politics and economics cannot entirely explain changes in 
style, and this period with its great variety was one of the most experimental 
of the century. 

As if in reaction to the massive splendor of the Empire, jewelry was made 
in lighter form. Nostalgia was felt for eras long antedating the Revolution. 
The Middle Ages and the "gothick" style became fashionable. The Middle 
Ages were peopled with the ancestors of the aristocracy of the recently 
restored regime; the displaced ruling class of the Empire could find no 
associations here. The fifteenth-century fashion of the ferronniere was 
revived. This jewel, named after Leonardo's portrait of the blacksmith's 
beautiful wife, was a fine chain with a central motif worn low on the brow 
(Nos. 46, 63). After the 1840's it ceased to be fashionable. The sixteenth 
century was revived in a "Marie Stuart" costume ball given in 1829 by the 
Duchesse de Berri, daughter-in-law of Charles X. 

This historical snobbery gave an additional sentimental value to jewelry 
of small intrinsic worth. Now topaz, amethyst, aquamarine, garnet and other 
semi-precious stones as well as cameo-cut shell were used in parures of 
light-weight gold often stamped (No. 26), sometimes finely wrought in small 
granules or filigree work (No. 30). Cut steel now became more popular 
and less expensive. 

The serpent, a motif used in jewelry at least since the Roman Empire, 
became quite popular and remained so throughout the century. The deco- 
rative flexibility with which its shape could be adapted to bracelets, neck- 
laces, combs, brooches, and earrings (No. 366, Fig. 4) seems to have quite 
overcome any unpleasant associations ladies might have recalled. 

The jewelry of the Restoration bears its own nostalgic charm; the intel- 
lectual and archaeological character of Empire jewelry as well as its 
richness were modified and replaced by a sentimental and literary appeal. 

But in the work of one man the archaeological aspects of jewelry became 
more important than ever before. Having opened a shop in Rome in 1814, 
Fortunato Pio Castellani (1793-1865) began making reproductions of Greek 
and Etruscan jewelry in the 1820's. The quality of the granular and filigree 
work of these pieces had not been seen since antiquity. Their accuracy as 
reproductions, achieved by workers whom Castellani had discovered still 
using ancient techniques, gained for him an international reputation. These 
pieces were made in two weights of gold, as was ancient jewelry; a light 
weight in imitation of funerary jewelry (No. 53), and a heavier weight 
reproducing that made for wear (Nos. 55, 57). Except for an interruption in 
1848-1858, the work was carried on after Fortunato Pio's death in 1851 by 
his son Augusto (1829-1914). His reproductions of the jewelry of classical 
antiquity (No. 59) and northern medieval pieces (No. 71, Fig. 1) were made 



throughout the century in such a similarity of style and technique that with 
few exceptions they are difficult to date. Besides making jewelry the Cas- 
tellani formed a large collection of antique examples; Augusto later became 
Director of the Capitoline Museum and much of his collection remains there. 
His elder brother Alessandro (1824-1883) also collected and dealt in antique 
jewelry. He travelled extensively and displayed the work of the firm, which 
was admired and imitated widely, at most of the exhibitions of art and 
industry which were held all over Europe and America after 1851. Much 
of the antique jewelry now in the British Museum was acquired through 
Alessandro Castellani. Many of these pieces while in his collection had 
served as models for the firm (No. 128, Fig. 10). 

Society of the period of Louis Philippe (1830-1848) held no aristocratic 
pretensions. The newly established bourgeoisie had been frugal for so 
long that they were unable to change their habits when they became the 
ruling class. The result was "un certain luxe, reel, mais economique." 

Such a society did not offer a large market for precious jewelry. But 
jewelry continued to be made of cheaper materials in increasingly large 
quantities. Enamel furnished color (Nos. 47, 48) and stamped work gradu- 
ally replaced the delicate granular and filigree work of the 1820's and early 
1830's. The quality is inferior to that of earlier work although there are 
certain outstanding exceptions. Inexpensive alloys, such as pinchbeck, had 
been known since the late eighteenth century; these now readily lent them- 
selves to the popular die-stamped jewelry of the late 1830's and 1840's (Nos. 
85 to 89). Lack of intrinsic value has preserved this type so that the period 
is well represented. In the 1830's seed pearls, often made into parures, 
became quite fashionable (No. 80). The small pearls give somewhat the 
effect of the earlier gold granular work in larger scale. Jewelry made of hair, 
usually human, was popular from the 1840's until the late 1850's. Miss 
Flower notes that young ladies often made it themselves lest an unscrupu- 
lous tradesman substitute a stranger's hair for that given to him to work 
(Nos. 100, 101). This is perhaps the most striking type of what has been 
called the "jewelry of sentiment." 

An outstanding example of jewelry of sentiment, but of precious materials, 
is a pair of bracelets made about 1840 for Queen Louise d'Orldans of 
Belgium, with the names of her children, Leopold and Charlotte, one on 
each. The clasp of each of these conceals a crystal-faced locket which might 
have held a portrait, or lock of hair or some token of the child. The fine 
quality and conservative design of these bracelets is to be expected of a 
royal piece of this time (No. 66, Fig. 7). 

Since the 1840's tourists returning from Italy have bedecked their persons 
and their progeny with Neapolitan jewelry of colored glass mosaic depicting 



Pompeian themes and Roman ruins (Nos. 72, 103), or coral cut and polished 
until it resembles little petrified bouquets (No. 150), or cameos cut from 
the lava cast forth by some visited volcano (No. 240). Further north pietra 
dura, a mosaic work of naturally colored stones usually in designs of 
flowers and insects, catered to the same clientele (Nos. 106, 116). The vary- 
ing quality of this work had no effect on its unvarying attraction, and it con- 
tinued to be made throughout the century with little change of style. 

The romanticism begun in an earlier period now became dominant. In 
1844 Eugene Julienne published ornamental designs for almost every 
object, including jewelry, in every style beginning with that of the thirteenth 
century. Francois-Desire Froment-Meurice (1802-1855) had a large work- 
shop producing jewelry in the medieval style, but debased imitations of his 
pieces, often not without an appeal of their own, were more popular, and 
cheaper, than his rather pedantic, but beautifully finished jewels (No. 64). 
In England also, jewelry reflected the Gothic Revival. Among the many 
designs of Augustus North Welby Pugin (1812-1852) may be found some' 
for jewelry, but these are incidental in his work. The most influential pro- 
ductions in jewelry of this kind besides those of Froment-Meurice were done 
by the German Wagner and the Dane Rudolphi, both working in Paris. 

Forms used in jewelry became thicker, coarser and heavier in appear- 
ance, though often the pieces were quite light in weight. The jewelry of the 
1840's disappoints by its pretentions to a solidity it does not possess. 

The First Empire borrowed grandeur from Imperial Rome; the Second 
Empire (1852-1870) drew with equal freedom on Egypt, Greece, Etruria, 
Rome, the sixteenth, seventeenth and eighteenth centuries of Italy, France 
and England, and the Near and Far East. During this period quantities of 
jewels in the greatest variety of styles and range of quality were made. In 
its diversity of styles the Second Empire epitomizes the century. 

Once again French society was dominated by an aristocracy of relatively 
recent origins. The Emperor had many of the crown jewels reset in 1853 
for his bride Eugenie, Countess of Montijo, who throughout her reign, 
unlike the preceding Queen Marie- Amelie, patronized many jewelers. The 
most immediate result of this new interest was the production of richer, 
brighter jewelry which used precious stones more profusely than that of the 
previous decade. This new brilliance was especially striking when con- 
trasted not only with the preceding reign but with the short-lived Second 
Republic and the disturbed years after 1848. 

At that time Louis Tiffany, who had opened a stationery and fancy goods 
shop in New York in 1837, went to France. By judicious and extensive 
purchases of jewelry he was able to set up the firm. Tiffany and Company, 
in 1851. 



In the same year French jewelers sent examples of their work to the 
Great Exhibition held in London. England as well as France was prosperous, 
and some jewelers practiced in both countries. English jewelry is usually 
better made than that of France and its technical innovations were often 
imitated by the French. But fashions in jewelry, in the style of the pieces 
themselves and how they were to be worn, were usually established in 
France and followed by the rest of Europe and America. 

Earlier in the century styles had some base in politics, archaeology, or 
sentiment. Now they were revived apparently for no other reason than 
novelty, and fashions changed rapidly, every few years. The medieval 
style (No. 390) shared popularity with the rococo of Louis XV (No. 115), 
which was soon outmoded by the style of Louis XVL to which, for no 
possible historical reason, the Empress became attached. Her apartments 
at the Tuileries were decorated in this style and one of her jewelers, Bau- 
grand, designed in this style for her (Nos. 398, 399, Fig. 6). The sixteenth 
century was also fashionable. In 1876 a facsimile edition of the jewelry 
designs of Rene Boyvin (fl. 1560-1580) was published, and the designs of 
Hans Collaert (fl. 1580) were realized in gold and precious stones (No. 234). 

Rapid changes of fashion, perhaps artificially induced, were probably 
more like the changes of style during the first half of the twentieth century 
than any previous period. In the 1860's costume jewelry first reached a 
popularity never subsequently lost. This jewelry was an economic necessity. 
Precious jewelry had become so massive and heavy and stones so large 
(No. 396) that the amount of gold and gem-stones alone made it the preroga- 
tive of the very rich. Yet the demand for jewelry was great: costume jewelry, 
often made of base metal and imitation stones, was not intended to last 
longer than the fashion of a dress. Galvanization had now made possible 
cheap electrically cast reproductions. In the 1850's aluminum was isolated 
and though it first was more precious than gold it soon became quite cheap 
and was used for a short time in jewelry (No. 121). Actual insects and even 
birds were set as jewelry (Nos. 164, 165). 

More sober jewelry was still widely produced. By this time the Castellani 
had many imitators; among the most successful were Eugene Fontenay 
(1823-1885) of Paris, whose works are adaptations of the antique rather than 
recreations of it (Nos. 185, 186), and Robert Phillips (d. 1881) of London. 
Giacinto Melillo (1846-1915) of Naples was perhaps the foremost of the 
Castellani's pupils. His copies of Roman jewelry are no less accurate than 
the Etruscan and Greek pieces of the Castellani, and they show an elegance 
which is characteristic of the last years of the nineteenth century (Nos. 
274 to 276, 300 to 307). 

Carlo Giuliano, the outstanding jeweler of the second half of the century. 



now appeared at London in the late 1860's. His earliest work is typical of 
its period and distinguished from other jewelry only by a certain refinement 
and superior execution (No. 178). Though he worked in the Greek and 
Etruscan styles (No. 147), he also developed a manner quite distinct from 
that of the Castellani, and created jewelry unlike any made before. 
Giuliano's knowledge of antique and Renaissance jewels is often apparent 
in these pieces, but they are not essays in archaeological reconstruction. 
While the Castellani applied their superb craftsmanship and unerring taste 
to reproductions which expressed alike the style of their time and the values 
of archaeological scholarship, Giuliano's pieces are more imaginative and 
certainly no less finely made. His attitude toward the past is that of an 
artist rather than a scholar. His later jewels, made in the light elegant 
forms typical of the last years of the century, are quite distinctive and express 
understanding and sympathy with jewelry of Egypt (No. 205), the sixteenth 
century (Nos. 262, 321), the Orient (No. 247), and I'Art Nouveau (No. 292). 
But his work does not reflect transiently fashionable aspects; in all these 
pieces it is the stature of his own personality as an artist-jeweler which is 
most apparent. His elegance transcends the Edwardian. 

At the end of the 1860's a jeweler in Paris began to perfect a way of 
setting stones that was to result in the nearly complete elimination of gold- 
smith work in precious jewelry and with few exceptions reduce the jeweler 
to a stone setter. Oscar Massin revived and popularized the eighteenth- 
century manner of mounting jewels on springs; more importantly, he 
developed invisible mountings which emphasize, indeed show nothing else 
but, the stones. This technique coincides with a renewed popularity of 
those stones which show to best advantage in such a mounting: diamonds. 
Two reasons may be given for the popularity of diamonds at this time. Some 
of the vast resources of the South African diamond mines had reached the 
Paris market by the early 1870's. A decade later electricity was introduced 
for illumination in public places. In 1875 the Opera at Paris opened and 
a few years later, in 1883, the Metropolitan Opera House was first occupied. 
Across these vast interior spaces and under the glare of white electric light 
jewelry of colored stones, gold and enamel appeared both more garish and 
less striking than the delicate sparkle of diamonds in invisible mountings. 
Perhaps this unfavorable comparison helped the reaction which did come 
against the heavy jewelry of the 1860's. Beginning in the later 1870's and 
until after the end of the century jewelry became lighter in form, more 
open in design and depended more on the scintillation of diamonds for 
brilliance. Along with this desire for brilliance and absence of color, jet 
became fashionable. It was worn perhaps for the first time without funereal 
connotations (Nos. 225, 226). 

10 



The end of the Second Empire marked no great styHstic change in 
jewelry. The period was so varied as to defy easy generaHzation. EngUsh 
wealth sustained the inevitable changes of fashion, and if the center of 
fashion did not move to London, what was thought to be the English 
taste was promoted in Paris, especially sporting jewelry, popular in the 
1880'sand 1890's. 

No economic reason can account for the reaction against the elaborate 
jewelry of the 1860's and early 1870's; the diamond jewelry that succeeded 
it was often more expensive. From the 1880's until the First World War 
England and France enjoyed considerable prosperity. Precious jewelry, 
with diamonds by far the most popular stones, was made in increasingly 
lighter designs. An entirely different kind of jewelry appeared in the 
1890's, a result of aesthetic doctrines formed by the Pre-Raphaelites, 
elaborated by William Morris and others and realized by the Art Workers' 
Guild (1884) and the Arts and Crafts Exhibition Society (1886). The Middle 
Ages were foraged, though not archaeologically, nor were their forms re- 
created for any sentimental reasons. This was a doctrinaire revival, the forms 
of certain past ages were used because each was thought most suitable for 
the particular function of the piece. A moral snobbery valued the irregu- 
larity of the handcrafted piece above the high finish associated with machine- 
made objects. Glitter was vulgar. Unpolished metals were used, stones 
en cabochon were preferred to faceted ones. This new concept of jewelry, 
adopted abroad and refined by Gallic elegance, was soon fashionable. The 
exceptional pieces of Rene-Jules Lalique (1860-1945) (Nos. 308 to 311, 
Fig. 13) and the designs of Eugene-Samuel Grasset (1841-1917) (Nos. 400 to 
403, Fig. 12) represent mature examples of I'Art Nouveau; while those of 
Hector Guimard (1867-1942) seem to justify the special designation of a 
"Style Guimard" (Nos. 312 to 314). 

This is a truly international style and a most flexible one. Based on almost 
no forms found in any styles of the past, it allows the greatest latitude for 
the personality of the artist. The firm of Faberge in Saint Petersburg 
mastered it perfectly (No. 324), while at the same time working in the more 
conventional style of 1900 (No. 322), as well as making archaeological repro- 
ductions of twelfth-century pieces (No. 326). 

Perhaps the work of Louis Comfort Tiffany (1848-1933) is most typical 
of I'Art Nouveau in America. In his and similar pieces the metal appears 
almost kneaded, so evident is the hand-wrought quality; encrustations of 
patina proclaim the surface unviolated by any hint of polish. Nothing is 
permitted to remove the effects of time, real or apparent; the cabochon-cut 
stones are chosen for their color and size, never for their value or perfection 
(Nos. 338, 339). Each piece is so doctrinaire in its design and execution, 

11 



so self-consciously aesthetic, that it demands appreciation rather than gives 
pleasure. It is paradoxical that this jewelry, designed with such a striving 
for timelessness, should now appear so dated. 

The contemporary work of Giuliano seems, in comparison, almost with- 
out epoch. It is, of course, no less a product of its age — indeed it is less of a 
revolt against its age — than I'Art Nouveau pieces; but its major interest is 
an aesthetic one, none of it is primarily a period piece. And it is with the 
death of this artist and the outbreak of the First World War that the 
period covered by the present exhibition comes to its end. 

William Osmun 



12 




Fig. 1. Bracelet, in medieval Scandina\inn sl\le: gold and emeralds 
Castellani: Italy, Rome: 1840-18-lS 
Lent by Martin J. Desmoni 




Fic. 2. Brooch; jasper cameo, gold, enamel 

Benedetto I'istnicci (17S-1-1854) ; England; about 1830 
Lent by Martin f. Dcsmoni 



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Fig. 3. Designs for a Bracelet or Belt and Four Earrings: drawing, pen ;incl waiercolor 
Italy; 1805-1S15 
The Cooper Union Museum 



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Fig. 4. Design eor \ Comh; drawing, pencil 
llaly; 1830-1810 
The Cooper Union Museum 




Fig. 5. Desig\s ior 1 \m> liuvtm is diauing pencil. ivaLercolor 

Piobabh ^iisiuMo CasitlLmi (IS2q 1914) Italv. Rome; 18:)8-1880 
The Coopti Union Mnseuni 




li( () I)iM(\s I i)K liiKi I Bkckmhis; diawint;, poniil, Chinese while 
Gnsla\ Bau!,a md (l.Sl.'(J-1870) ; France, Paris: ahonl 1867 
The Coopei Union Mnseum 




Pair of Bracelets, made for Louise d'Orleaiis (1812-1850) 
Queen of the Belgians, with the names of her two children 
Gold, enamel, diamonds; probably France; about 1840 
Lent by Raphael Esmerian 




l'\IR OI 1 \RR1N(.S, ILpUKllJI lions (if \'-I\' 

Augusto {}) Castellan] ( 1n2;M9M) ; Itah 
The Cooper Union Museum 



culur\ B.C.. Cicck pi 
Rome: 18.')S-1870 



gold 




Fig. 9. Tiara, oL' oak len\es and acorns: gold 
Seliepazzi: Itah. Florence; 1820-1830 
Lenl by Rapliacl Ksnierian 




Fio. 10. N'ecklaci. AM) I'AiR OF EARRINGS. leproiUictions oC 
IlI-II century B.C. Greek pieces: gold, enamel 
.\ugusto Castellani (1829-1914); Italy, Rome; 1858-1870 
Lent by Martin J. Desmoni 









Fig. 11. Design for a Br.vcei.et; drawing, jjencil 
Salvatori: Italy, Rome; 1860-1870 
The Cooper Union Museum 




Fig. 12. Design for a Brooch; drawing, watercolor 

Eugene-Samuel Grasset (1841-1917); France, Paris; 1900 
The Cooper Union Museum 




13. Uoi'BLE Brooch; glass, diamonds, enamel, gold 
Rene Jnles Laliqiie (1860-1945) 
Lent by the Meliopolitan Musenm of Art 




Fic. 14. \V.\LLET, made for James Bnchanan (Diamond Jim) Brad\ (1856-1917) 

Showing his initials formed by snakes; bulfalo hide, vari-colored sapphires, gold 

United States; about 1890 

Lent by Frederick ^Villiam Bradley 




Fig. 15. Pe.ndant; rock crystal, pearls, enamel, diamonds, ;j;old 
Carlo Giuliano (cl. 1912); England, London; 18XU-1890 
Lent by Martin J. Desnioni 



CATALOGUE 



{The numbers set in parentheses after the descriptions of the objects refer to the owners 
of the objects, as shown in the list of Contributors to the Exhibition on page 25. 
An asterisk (*) indicates that the object is illustrated.) 



Pair of earrings; steel; France; about 27. 

1800 (3) 

Lorgnon and chain; cut steel; France; 28. 

about 1800 (5) 

Seal; chalcedony, steel; France; about 29. 

1800 (5) 

Finger ring; gold, diamonds, glass; France; 30. 

about 1800 (5) 

Locket; gold, mother-of-pearl, glass; Eng- 31. 

land 1800-1805 (5) 

Pendant; gold, carnelian; Giuseppe Giro- 32. 

metti (1779-1851); Italy, Rome; 1800-1810 

(6) 33. 

Chatelaine; gold, cut steel; France; 1800- 

1810 (5) *34. 

Chatelaine; gold, enamel; France; 1800- 

1810 (5) 

Scarf pin; gold, pearl, diamonds, enamel; 35. 

Maison Bapst; France, Paris; 1810-1820 

(6) 36. 

Brooch; cast iron; Germany, Berlin; 1813- 

1815 (5) 

Three links and clasp for bracelet; cast 37. 

iron, gold; Germany, Berlin; 1813-1815 38. 

(9) 

Seal; gold, carnelian; England or France; 39. 

about 1815 (5) 

Trinket, in form of trick cannon; gold, 40. 

turquoise, enamel; France; about 1815 (6) 

Brooch; gold, seed pearls, ruby; France; 41. 

1818-1830 (14) 

Pair of earrings gold, jet, glass; France 

or England; 1818-1830 (3) 42. 

Demi-parure; gold, ceramic; Italy; about 

1820 (6) 43. 

Brooch; shell cameo, gold; Italy; about 

1820 (6) 44. 

Pair of earrings; gold; probably France; 

about 1820 (14) 45. 

Locket; gold; England; about 1820 (6) 

Locket; gold, glass; England; about 1820 46. 

(14) 

Seal; obsidian, gold; United States; about 

1820 (5) 47. 

Seal; chalcedony, gold; United States; 

about 1820 (5) 48. 

Corsage ornament, convertible into three 

brooches; gold, turquoise, diamonds; Italy 49. 

or France; 1820-1825 (16) 

Tiara, of oak leaves and acorns; gold; 50. 

Settepazzi; Italy, Florence; 1820-1830 (7) 

Bracelet, brooch, and scarf pin; alman- 51. 

dines, gold, enamel; France; 1820-1830 (6) 

Pair of earrings; topaz, gold; France; 52. 

1820-1830 (12) 



Brooch; gold, silver, pearl, diamonds, 
rubies, emeralds; France; 1820-1830 (6) 
Necklace; tourmalines, gold; France or 
England; 1820-1830 (14) 
Pair of buckles; gold, steel; English; 1820- 
1830 (5) 

Demi-parure; amethysts, aquamarines, 
gold; France; 1825-1835 (5) 
Seal; agate, gold; France or England; 
1825-1835 (5) 

Seal; agate, silver-gilt; France or England; 
1825-1835 (5) 

Seal; chalcedony, gold; France or Eng- 
land; 1825-1835 (5) 

Brooch; jasper cameo, gold, enamel; Bene- 
detto Pistrucci (1784-1854); England; 
about 1830 (6) 

Brooch; agate, gold; Benedetto Pistrucci 
(1784-1854); England; 1830-1840 (6) 
Seal and watch ke)-; gold, emerald, tur- 
quoise, amethyst; probably France; about 
1830 (5) 

Chain; gold; France; about 1830 (12) 
Pair of earrings; gold; France; about 1830 
(12) 

Bangle bracelet; gold, pearls; Ireland; 
about 1830 (11) 
Brooch; gold, coral; England; 1830-1835 

(!) 

Finger ring with crowned initial L ; 

gold, enamel, diamonds; France; 1830- 

1840 (6) 

Pair of earrings; tortoiseshell with gold 

piciu(5; France; 1830-1840 (5) 

Pair of earrings; amber, gold; probably 

France; 1830-1840 (5) 

Brooch; gold, enamel, garnets; France; 

1830-1840 (9) 

Bracelet; gold, star sapphire, diamonds; 

France; 1830-1840 (16) 

Bracelet, probably made up from a fer- 

ronniere; silver-gilt, turquoises; France; 

1830-1840 and later (5) 

Necklace and earrings; gold, enamel; 

probably Switzerland; 1830-1840 (16) 

Bracelet; gold, enamel; Switzerland; 1830- 

1840 (16) 

Bracelet; gold, turquoises, diamonds; 

England; 1830-1840 (16) 

Hat ornament; gold, garnets; England; 

1830-1840 (5) 

Bracelet; gold, diamonds, emeralds, 

rubies; England; 1830-1840 (3) 

Pair of earrings; gold, wood; England; 

1830-1840 (5) 

13 



1830- 
gold, 
Italy; 



53. Tiara, reproduction of III century B.C. 
Greek funerary piece; gold; Fortunato 
Pio (?) Castellani (1793-1865); Italy, 
Rome; 1830-1848 (6) 

54. Brooch; silver, gold, enamel; Fortunato 
Pio (?) Castellani (1793-1865); Italy, 
Rome; 1830-1848 (6) 

55. Necklace, in the Etruscan style; gold; 
Fortunato Pio (?) Castellani (1793-1865); 
Italy, Rome; 1830-1848 (6) 

56. Locket; gold; Fortunato Pio (?) Castellani 
(1793-1865); Italy, Rome; 1830-1848 (6) 

57. Necklace and brooch, in the Etruscan 
style; gold, amber; Fortunato Pio (?) Cas- 
tellani (1793-1865); Italy, Rome; 1830- 
1848 (6) 

58. Bracelet; gold, carnelian; Fortunato Pio 
(?) Castellani (1793-1865); Italy, Rome; 
1830-1848 (6) 

59. Brooch with pendant, reproduction of 
III-II century B.C. Greek piece; gold; 
Castellani; Italy, Rome; 1830-1848 (6) 

60. Parure; gold, carnelian; Castellani; Italy, 
Rome; 1830-1848 (6) 

61. Bracelet; gold, enamel; England; 
1850 (11) 

62. Chain with seal and watch key; 
silver; United States; 1830-1850 (5) 

63. Ferronniere; gold, stone mosaic; 
about 1840 (5) 

64. Pendant; gold, chalcedony, enamel, pearl; 
Fran^ois-D^sir^ Froment-Meurice (1802- 
1855); France, Paris; about 1840 (6) 

65. Bracelet; gold; France; about 1840 (12) 
*66. Pair of bracelets, made for Louise 

d'Orl^ans (1812-1850) Queen of the Bel- 
gians; gold, enamel, diamonds; probably 
France; about 1840 (7) 

67. Necklace in form of a serpent; gold, tur- 
quoises, garnets, diamonds; France or 
England; about 1840 (11) 

68. Brooch; gold, diamonds, pearl; English- 
about 1840 (16) 

69. Chain with seal, watch key and trinkets; 
gold, silver, enamel, carnelian; probably 
United States; about 1840 (5) 

70. Pendant; gold, garnets, enamel; Castel- 
lani; Italy, Rome; 1840-1848 (6) 

*71. Bracelet, in medieval Scandinavian style; 
gold, emeralds; Castellani; Italy, Rome; 
1840-1848 (6) 

72. Parure; glass mosaic, jasper, gold; Italy, 
probably Naples; 1840-1850 (5) 

73. Demi-parure; stone mosaic, gold; Italy, 
1840-1850 (5) 

74. Pendant; chalcedony, pearls, gold, en- 
amel; Italy; 1840-1850 (6) 

75. Brooch; shell cameo, gold; Italy; 1840- 
1850 (5) 

76. Bracelet; gold, aquamarine; France; 1840- 
1850 (5) 

77. Bangle bracelet, in form of a cuff; gold, 
turquoises; France; 1840-1850 (9) 

78. Necklace; silver-gilt, paste, France; 1840- 
1850 (9) 



79. Bracelet; gold, enamel; Austria; 1840-1850 
(5) 

80. Parure; seed pearls; probably England; 
1840-1850 (5) 

81. Parure; gold, amethysts, enamel; Eng- 
land; 1840-1850 (3) 

82. Brooch; gold; England; 1840-1850 (3) 

83. Brooch; gold, enamel; England; 1840- 
1850 (14) 

84. Brooch; gold, enamel; England; 1840- 
1850 (16) 

85. Pair of earrings; pinchbeck; England; 
1840-1850 (5) 

86.-89. Brooches; pinchbeck; England; 1840- 
1850 (5) 

90. Bangle bracelet; gold, turquoise, pearls; 
probably United States; 1840-1860 (5) 

91. Chain with fobs; gold, hair; United 
States; 1845-1850 (5) 

92. Pair of earrings; gold, hair; United States; 
1845-1850 (5) 

93. Top of a pin; gold; probably Castellani; 
Italy; mid-19th century (5) 

94. Pendant; gold and enamel; Italy; about 
1850 (6) 

95. Pendant and chain, in the style of the 
16th century; gold and enamel; Italy; 
about 1850 (6) 

96. Bracelet; malachite, silver-gilt; Italy or 
France; about 1850 (5) 

97. Parure; chalcedony cameo, gold; L. 
Saulini; probably England; about 1850 
(12) 

98. Brooch; chalcedony cameo, gold, dia- 
monds; L. Saulini; England; about 1850; 
(6) 

99. Parure; gold, silver, turquoises; England; 
about 1850 (3) 

100. Bracelet; gold, hair; England or United 
States; about 1850 (5) 

101. Demi-parure; hair, gold; England or 
United States; 1850-1855 (5) 

102. Bracelet; gold, enamel, diamonds; France; 
1850-1855 (7) 

103. Finger ring, octagonal; gold, glass mosaic; 
Italy, Naples; I850-I860 (7) 

104. Parure; shell cameo, gold; Italy, Naples; 
1850-1860 (12) 

105. Pair of earrings; chalcedony, glass mosaic, 
gold; Italy, Naples; 1850-1860 (5) 

106. Eight studs; stone mosaic; Italy; 1850- 
1860 (5) 

107. Pair of sleeve links; tortoiseshell; Italy; 
1850-1860 (5) 

108. Pair of bracelets; tortoiseshell; Italy; 
1850-1860 (5) 

109. Necklace; gold; probably Italy; 1850-1860 
(5) 

110. Brooch; gold, silver, enamel, diamonds, 
rubies; France; 1850-1860 (16) 

111. Brooch; glass cameo, gold, enamel; 
France; 1850-1860 (5) 

112. Brooch with pendant scent bottle; gold, 
enamel; France; 1850-1860 (6) 



14 



113. Hairpin; gilt metal, glass; France; 1850- 
1860 (3) 

114. Necklace; gold, amethysts; probably Eng- 
land; 1850-1860 (14) 

115. Bangle bracelet; gold, enamel; probably 
France; 1850-1860 (5) 

116. Demi-parure; stone mosaic, gold; Italy; 
1850-1870 (5) 

117. Bracelet; gold, pearls; France; 1850-1870 
(5) 

118. Bracelet; gold, garnets, enamel; France; 
1850-1875 (5) 

119. Scarf pin; gold, silver, enamel, diamonds; 
probably J. Paul Robin (d. 1869); France, 
Paris; 1855-1860 (5) 

120. Brooch; enamel, gold, pearls; Switzerland; 
1855-1860 (5) 

121. Demi-parure; aluminum, gold; probably 
France; 1855-1860 (5) 

122. Demi-parure; glass mosaic, chalcedony, 
gold; Italy, 1855-1860 (5) 

123. Pendant brooch; gold, rock crystal, dia- 
monds, silk; Dumoret; France, Paris; 
1855-1870 (12) 

124. Necklace; gold, carved emeralds, pearls, 
enamel; Augusto (?) Castellani (1829- 
1914); Italy, Rome; 1858-1870 (6) 

125. Necklace; gold; Augusto (?) Castellani 
(1829-1914); Italy, Rome; 1858-1870 (6) 

126. Necklace, letter on each of eight links 
spells AMOR ROMA; glass mosaic, gold; 
Augusto (?) Castellani (1829-1914); Italy, 
Rome; 1858-1870 (6) 

127. Necklace; gold, emeralds, pearls; Augusto 
(?) Castellani (1829-1914); Italy, Rome; 
1858-1870 (6) 

*128. Parure, reproducing III-II century B.C. 
Greek pieces now in the British Museum 
and the Louvre; gold, enamel; Augusto 
(?) Castellani (1829-1914); Italy, Rome; 
1858-1870 (6) 

129. Demi-parure; gold; Augusto (?) Castellani 
(1829-1914); Italy, Rome; 1858-1870 (6) 

130. Pendant and chain, in the style of the 
sixteenth century; enamel, gold, rubies, 
emeralds, pearls; Augusto (?) Castellani 
(1829-1914); Italy, Rome; 1858-1870 (6) 

131. Pendant and chain, in the style of the 
fourteenth century; enamel, gold, emer- 
alds, pearls; Augusto (?) Castellani (1829- 
1914); Italy, Rome; 1858-1870 (6) 

132. Pendant, in the style of the sixteenth 
century; enamel, gold, rubies, pearls, 
emeralds; Augusto (?) Castellani (1829- 
1914); Italy, Rome; 1858-1870 (6) 

133. Two brooches, each in the form of the 
initial "M" of the Virgin Mary. Repro- 
ductions of a jewel bequeathed to New 
College, Oxford in 1404 by William of 
Wykeham, Bishop of Winchester; gold, 
pearls, sapphires, emeralds; , Augusto (?) 
Castellani (1829-1914); Italy, Rome; 1858- 
1870 (7) 

134. Brooch; gold, enamel; Augusto (?) Castel- 



lani (1829-1914); Italy, Rome; 1858-1870 
(6) 

135. Brooch; gold, glass mosaic; Augusto (?) 
Castellani (1829-1914); Italy, Rome; 1858- 
1870 (6) 

136. Brooch; chalcedony cameo, enamel, gold, 
emeralds; Augusto (?) Castellani (1829- 
1914); Italy, Rome; 1858-1870 (6) 

137. Brooch; gold, ceramic; Augusto (?) Castel- 
lani (1829-1814); Italy, Rome; 1858-1870 
(6) 

138. Bracelet; jadeite, gold; Augusto (?) Cas- 
tellani (1829-1914); Italy, Rome; 1858- 
1870 (6) 

139. Bracelet, reversible, initials, one on each 
of twelve links spell "Non Relinquam" on 
one side, "Non Relinques" on other; 
gold; Augusto (?) Castellani (1829-1914); 
Italy, Rome; 1858-1880 (6) 

*140. Pair of earrings, in the form of sirens. 
Reproductions of V-IV century B.C. Greek 
piece now in the Metropolitan Museum 
of Art; gold; Augusto (?) Castellani (1829- 
1914); Italy, Rome; 1858-1880 (5) 

141. Pair of earrings, reproductions of antique 
pieces: probably Castellani; gold; Italy; 
about 1860 (5) 

142. Brooch; gold, enamel; France; about 1860 
(9) 

143. Comb; gold, tortoiseshell; probably 
France; about 1860 (5) 

144. Hat ornament; garnet, enamel, gold, dia- 
monds; England; about 1860 (16) 

145. Bracelet; shell cameos, gold; probably 
Italy; 1860-1865 (5) 

146. Bracelet; enamel, ruby, gold, diamonds; 
England; 1860-1865 (7) 

147. Pair of earrings in the Etruscan style; 
gold; Carlo Giuliano (d. 1912); Italy or 
England; 1860-1870 (6) 

148. Two brooches, each in form of a Doge's 
cap; rubies, diamonds, gold, and sap- 
phires, diamonds, gold; Italy, Venice (?); 
1860-1870 (5) 

149. Brooch; stone mosaic, gold; Italy, 1860- 
1870 (5) 

150. Demi-parure; coral, gold; probably Italy; 
1860-1870 (1) 

151. Brooch; lapis lazuli, gold; Italy; 1860- 
1870 (5) 

152. Comb; tortoiseshell, silver; probably 
Italy; 1860-1870 (5) 

153. Scarf ring; gold, aquamarine, enamel; 
France; 1860-1870 (10) 

154. Demi-parure; gold, enamel; France; 1860- 
1870 (5) 

155. Brooch; chalcedony cameo, gold, rubies, 
diamonds; France; 1860-1870 (7) 

156. Pair of earrings; gold, pearls, turquoises; 
France or England; 1860-1870 (11) 

157. Pair of earrings; gold, turquoises; France 
or England; 1860-1870 (11) 

158. Brooch; enamel, diamonds, garnets, gold; 
England; 1860-1870 (6) 

15 



159. Pendant; gold, pearls, diamond; England 
1860-1870 (16) 

160. Demi-parure: gold, pearls, enamel; Eng 
land; 1860-1870 (16) 

161. Brooch and pair of sleeve links; gold 
enamel; France or United States; 1 
1870 (5) 

162. Bracelet; gold, chalcedony, diamonds 
enamel; United States; 1860-1870 (5) 

163. Demi-parure; gold; United States; 1860 
1870 (5) 

164. Pair of earrings; beetles, gold; Brazil 
1860-1870 (14) 

165. Pair of earrings; humming-bird's heads 
gold; Brazil; 1860-1870 (5) 

166. Pair of earrings; gold; Italy or France 
1860-1870 (5) 

167. Locket; chalcedony, diamonds, gold, sil 
ver; probably United States; 1860-1880 (5) 

168. Bracelet; bone; South Germany; 1860 
1900 (5) 

169. Bangle bracelet; gold, enamel, diamonds 
England; 1864 (11) 

170. Brooch and one earring, mourning jew 
elry of Mrs. Abraham Lincoln; gold 
onyx; United States; about 1865 (4) 

171. Comb; coral, silver-gilt, tortoiseshell 
Italy; 1865-1870 (5) 

172. Demi-parure; gold, lapis lazuli; France 
1865-1870 (5) 

173. Hair pins; gold; France; 1865-1870 (5) 

174. Pendant locket; spinel, gold, enamel, 
pearls; probably England; 1865-1870 (5) 

175. Demi-parure; ivory-nut, gold, enamel; 
United States; 1865-1870 (5) 

176. Pendant; enamel, pearls, diamonds, gold; 
France; 1865-1875 (5) 

177. Two finger rings; gold, enamel, diamond, 
and gold, peridot; Italy; 1865-1880 (7) 

178. Parure; gold, rubies, sapphires, enamel; 
Carlo Giuliano (d. 1912); England, Lon- 
don; 1866-1870 (6) 

179. Necklace, in the style of III-II century, 
B.C.; gold, chalcedony; Carlo Giuliano' 
(d. 1912); England, London; 1866-1875 (6) 

180. Pendant, with portraits of Henri II and 
Catherine de Medici in swivel mounting, 
in the style of the sixteenth century; 
enamel, gold, rubies, emeralds, pearl; 
France, Paris; about 1870 (6) 

181. Demi-parure; agate cameos, diamonds, 
pearls, gold, silver; Bessinger; France, 
Paris; about 1870 (7) 

182. Pendant and chain; malachite, gold; Eng- 
land; about 1870 (14) 

183. Demi-parure; coral, gold; Italy; 1870- 
1875 (5) 

184. Pendant; chalcedony cameo, enamel, dia- 
monds, pearl, gold; Eugtee Fontenay 
(1823-1885); France, Paris; 1870-1875 (9) 

185. Pendant; cold enamel, gold, silver, dia- 
monds; propably Eugene Fontenay (1823- 
1885); France, Paris; 1870-1880 (6) 

186. Pendant; cold enamel, gold; probably 

16 



Eugene Fontenay (1823-1885); France, 
Paris; 1870-1880 (6) 

187. Doll's parure; glass beads, gilt metal, 
enamel, porcelain, paper; United States; 
1870-1875 (13) 

188. Pendant; agate cameo, gold; Elena Pis- 
trucci (1822-1886); probably Italy, Rome; 
1870-1880 (6) 

189. Pendant; shell cameo, gold; cameo by 
Giuseppe Trabacchi (1839-1909) mount 
by Augusto Castellani (1829-1914); Italy, 
Rome; 1870-1880 (6) 

190. Pendant; chalcedony, gold; cameo by A. 
Lanzi; Italy; 1870-1880 (6) 

191. Necklace; coral, gold; Italy; 1870-1880 (5) 

192. Bracelet; coral, gold; Italy; 1870-1880 (5) 

193. Demi-parure; coral, Italy; 1870-1880 (5) 

194. Pendant; carved ruby, enamel, pearls, 
gold; Italy or France; 1870-1880 (6) 

195. Brooch; gold, sapphire, pearls; France; 
1870-1880 (5) 

196. Scarf pin, in form of leopard and snake; 
gold, enamel, diamonds; France, Paris; 
1870-1880 (6) 

197. Scarf pin, in form of camel and Moor; 
gold, enamel; France, Paris; 1870-1880 (6) 

198. Scarf pin, in form of jockey cap; carvecl 
amethyst, diamonds, platinum; France, 
Paris; 1870-1880 (6) 

199. Locket with chain; enamel, gold; France; 
1870-1880 (10) 

200. Locket, in shape of an album; gold, en- 
amel; probably France; 1870-1880 (10) 

201. Pendant, in the style of the sixteenth cen- 
tury; enamel, pearls, rubies, gold; France 
or England; 1870-1880 (6) 

202. Necklace; coral, gold; Carlo Giuliano 
(d. 1912); England, London; 1870-1880 (6) 

203. Necklace; cabochon shapphires, gold; 
Carl Giuliano (d. 1912); England, Lon- 
don; 1870-1880 (6) 

204. Necklace; garnets, gold; Carlo Giuliano 
(d. 1912); England, London; 1870-1880 (6) 

205. Necklace; enamel, pearls, rubies, dia- 
monds, gold; Carlo Giuliano (d. 1912); 
England, London; 1870-1880 (6) 

206. Necklace and earrings; coral, gold; Carlo 
Giuliano (d. 1912); England, London; 
1870-1880 (6) 

207. Pendant with chain; carved carnelian, 
gold; Carlo Giuliano (d. 1912); England, 
London; 1870-1880 (6) 

208. Brooch; enamel, pearls, gold; Carlo 
Giuliano (d. 1912); England, London; 
1870-1880 (6) 

209. Fibula brooch; topaz, gold, enamel, 
pearls; Carlo Giuliano (d. 1912); England, 
London; 1870-1880 (6) 

210. Brooch, with two hearts; turquoises, dia- 
monds, enamel, gold; Carlo Giuliano 
(d. 1912); England, London; 1870-1880 (6) 

211. Brooch; enamel, pearls, gold; Carlo Giu- 
liano (d. 1912); England, London; 1870- 
1880 (6) 



212. Bangle bracelet; amethyst, pearls, enamel, 236. 
gold; Carlo Giuliano (d. 1912); England, 
London; 1870-1880 (6) 237. 

213. Bangle bracelet; gold, enamel, peridots; 
Carlo Giuliano (d. 1912); England, Lon- 
don; 1870-1880 (6) 238. 

214. Bracelet; gold, pearls, enamel; Carlo Giu- 
liano (d. 1912); England, London; 1870- 
1880 (6) 

215. Parure; gold, pearls, enamel; Carlo 239. 
Giuliano (d. 1912); England, London; 
1870-1880 (6) 

216. Necklace and pair of earrings, in the 240. 
form of parrots, in the style of the six- 
teenth century; baroque pearls, enamel, 241. 
gold, diamonds; attributed to Carlo Giu- 
liano (d. 1912); England, London; 1870- 242. 
1880 (16) 

217. Pair of earrings, in the Louis XVI style; 
chalcedony cameo, gold; England; 1870- 243. 
1880 (6) 

218. Demi-parure; amethysts, pearls, gold; 244. 
England; 1870-1880 (12) 

219. Necklace; amethysts, pearls, gold; Eng- 245. 
land; 1870-1880 (12) 

220. Necklace; garnets, gold; England; 1870- 

1880 (14) 246. 

221. Locket with chain; gold, enamel, pearls, 
diamonds; England; 1870-1880 (16) 

222. Pair of bracelets, mourning jewelry; glass, 247. 
gold, tin; England or United States; 
1870-1880 (5) 

223. Bracelet; gold, enamel; United States; 248. 
1870-1880 (5) 

224. Bangle bracelet with three pendant lock- 
ets; enamel, gold, diamonds; England; 249. 
1870-1890 (16) 

225. Three ornaments for the hair; jet, net, 

wire; probably United States; 1870-1890 250. 
(5) 

226. Demi-parure; jet, gold; probably United 
States; 1870-1890 (5) 251. 

227. Brooch; opals, diamonds, jadeite, gold; 
England; 1870-1900 (14) 

228. Pendant; chalcedony cameo, pearl, gold, 252. 
enamel; John Brogden; England, Lon- 
don; about 1873 (6) 

229. Brooch; sapphire cameo, diamonds, gold; 253. 
Augusto Castellani (1829-1914); Italy, 
Rome; about 1875 (6) 

230. Pair of earrings; silver; Italy; about *254. 
1875 (5) 

231. Bracelet; silver; Italy; about 1875 (5) 

232. Finger ring, in form of snake, articulated; 255. 
gold, ruby, diamonds; England; 1875-1890 

(5) 

233. Hair pin, in form of a dagger; horn, 256. 
gilt metal; probably United States; 1875- 

1890 (3) 

234. Pendant, after a design by Hans Collaert 257. 
(fl. 1580); gold, enamel, rubies, sapphires, 
emeralds, pearls; Pierret; Italy, Florence 

or Rome; 1875-1890 (10) 258. 

235. Brooch, in form of a bird; gold, dia- 
monds, rubies; England; 1875-1890 (7) 



Brooch and two studs; white sapphires, 
enamel, gold; United States; 1875-1890 (5) 
Brooch, a whistle in form of a riding 
whip; gold; probably United States; 1875- 
1900 (5) 

Bracelet, in the medieval style with 
mosaic portrait of Dante; gold, glass 
mosaic, rubies, pearls; Augusto Castellani 
(1829-1914); Italy, Rome; dated 1876 (6) 
Necklace; chalcedony, intaglios, pearls, 
gold; Giacinto Melillo (1846-1915); Italy, 
Naples; about 1880 (6) 
Scarf ring; lava cameos, gold; Italy; about 
1880 (6) 

Necklace; chalcedony, gold; France; about 
1880 (5) 

Locket and pair of earrings; gold, enamel, 
diamonds; probably France; about 1880 
(14) 

Chain; gold, garnets; England; about 
1880 (5) 

Pendant; enamel, gold; probably Eng- 
land; 1880-1890 (9) 

Hat pin, in form of a spider; enamel, 
gold, rubies, diamonds; France; 1880- 
1890 (16) 

Brooch, in form of a caterpillar; emer- 
alds, diamonds, gold; probably France; 
1880-1890 (5) 

Parure, in the oriental style; chrysoprases, 
rubies, pearls, gold; Carlo Giuliano (d. 
1912); England, London; 1880-1890 (6) 
Necklace; enamel, diamonds, gold, pearl; 
Carlo Giuliano (d. 1912); England, Lon- 
don; 1880-1890 (6) 

Necklace; pearls, diamonds, sapphires, 
enamel, gold; Carlo Giuliano (d. 1912); 
England, London; 1880-1890 (6) 
Necklace; almandines, gold; Carlo Giu- 
liano (d. 1912); England, London; 1880- 
1890 (6) 

Necklace; star sapphires, gold; Carlo 
Giuliano (d. 1912); England, London; 
1880-1890 (6) 

Pendant; enamel, rubies, pearls, gold; 
Carlo Giuliano (d. 1912); England, Lon- 
don; 1880-1890 (6) 

Pendant; enamel, tourmaline, peridots, 
gold; Carlo Giuliano (d. 1912); England, 
London; 1880-1890 (6) 
Pendant; rock crystal, pearls, enamel, 
diamonds, gold; Carlo Giuliano (d. 1912); 
England, London; 1880-1890 (6) 
Pendant; enamel, ruby, pearls, diamonds; 
Carlo Giuliano (d. 1912); England, Lon- 
don; 1880-1890 (6) 

Pendant locket; rock crystal, enamel, dia- 
monds, gold; Carlo Giuliano (d. 1912) 
England, London; 1890-1890 (6) 
Pendant locket; rock crystal, enamel, dia 
monds, gold; Carlo Giuliano (d. 1912) 
England, London; 1880-1890 (6) 
Brooch, in form of a butterfly; enamel 
gold; Carlo Giuliano (d. 1912); England^ 
London; 1880-1890 (6) 

17 



259. Brooch, in form of a butterfly; enamel, 
gold; Carlo Giuliano (d. 1912); England, 
London; 1880-1890 (6) 

260. Brooch; peridot, diamonds, enamel, gold; 
Carlo Giuliano (d. 1912); England, Lon- 
don; 1880-1890 (6) 

261. Brooch; enamel, diamonds, gold; Carlo 
Giuliano (d. 1912); England, London; 
1880-1890 (6) 

262. Finger ring, in the style of the sixteenth 
century; sapphire, enamel, gold; Carlo 
Giuliano (d. 1912); England, London; 
1880-1890 (6) 

263. Hairpin; tortoiseshell, gold, enamel, crys- 
tal; Carlo Giuliano (d. 1912); England, 
London; 1880-1890 (6) 

264. Pendant, in form of winged lion's mask; 
enamel, emeralds, rubies, diamonds, gold; 
England, London; 1880-1890 (6) 

265. Pendant; carved lapis lazuli, pink tour- 
maline, enamel, gold; England; 1880-1890 

(6) 

266. Bangle bracelet, terminating in two rams' 
heads, in the Hellenistic style; gold; Eng- 
land; 1880-1890 (6) 

267. Watch fob, with grotesque imp; leather, 
gold, stone; Marcus and Company; 
United States; 1880-1890 (5) 

268. Scarf pin; crystal, gold, pigment; France; 
1880-1900 (5) 

269. Locket with chain; crystal, pigment, gold, 
pearls; France; 1880-1900 (5) 

270. Brooch, in form of three berries; rubies, 
diamonds, gold; probably France; 1885 (5) 

271. Bracelet, in form of a coiled snake; gold, 
diamond, peridots; France or United 
States; about 1890 (5) 

272. Lorgnon, composed of snakes, those in 
the handle form the initials J. D. B.; gold, 
diamonds; Tiffany and Company; United 
States, New York; about 1890 (5) 

*273. Wallet, made for James Buchanan (Dia- 
mond Jim) Brady (1856-1917), and show- 
ing his initials formed by snakes; buffalo 
hide, vari-colored sapphires, gold; United 
States; about 1890 (2) 

274. Pair of earrings, reproductions of Roman 
pieces of about II-I century B.C.; Giacinto 
Melillo (1846-1915); Italy, Naples; 1890- 
1900 (6) 

275. Hatpin, in form of a snake; gold; Gia- 
cinto Melillo (1846-1915); Italy, Naples; 
1890-1900 (5) 

276. Demi-parure; gold; attributed to Giacinto 
Melillo (1846-1915); Italy. Naples; 1890- 
1900 (5) 

277. Necklace; enamel, diamonds, gold; Ren^- 
Jules Lalique (1860-1945); France, Paris; 
1890-1900 (12) 

278. Pendant; enamel, gold; Rene-Jules La- 
lique (1860-1945); France, Paris; 1890- 
1910 (12) 

279. Finger ring; enamel, peridot, gold; Ren^- 
Jules Lalique (1860-1945); France, Paris; 
1890-1910 (7) 

18 



280. Finger ring; baroque pearl, enamel, dia- 
monds, gold; probably Georges Le Turcq; 
France, Paris; 1890-1900 (7) 

281. Brooch; ivory, enamel, pearls, diamonds, 
gold; France, 1890-1900 (11) 

282. Match box; gold, emerald; France; 1890- 
1900 (5) 

283. Key ring; gold, emerald; France; 1890- 
1900 (5) 

284. Scarf pin; gold; France; 1890-1900 (6) 

285. Scarf pin; gold, rubies; France; 1890- 
1900 (6) 

286. Scarf pin; gold; France; 1890-1900 (6) 

287. Necklace; zircons, diamonds, pearls, en- 
amel, gold; Carlo Giuliano (d. 1912); 
England, London; 1890-1900 (6) 

288. Necklace, may be converted into two 
bracelets; diamond, emerald, ruby, sap- 
phire, topaz, enamel, gold; Carlo Giu- 
liano (d. 1912); England, London; 1890- 
1900 (6) 

289. Necklace; pearls, enamel, gold; Carlo 
Giuliano (d. 1912); England, London; 
1890-1900 (6) 

290. Necklace; diamonds, aquamarine, pearls, 
enamel, gold; Carlo Giuliano (d. 1912); 
England, London; 1890-1900 (6) 

291. Pendant; star ruby, star sapphires, en- 
amel, gold; Carlo Giuliano (d. 1912); 
England, London; 1890-1900 (6) 

292. Pendant, after the style of the sixteenth 
century; emeralds, diamonds, pearl, en- 
amel, gold; Carlo Giuliano (d. 1912); 
England, London; 1890-1900 (6) 

293. Pendant; pearls, diamonds, enamel, gold; 
Carlo Giuliano (d. 1912); England, Lon- 
don; 1890-1900 (6) 

294. Brooch; emeralds, diamonds, pearls, en- 
amel, gold; Carlo Giuliano (d. 1912); 
England, London; 1890-1900 (6) 

295. Watch fob, in form of rope and pulleys; 
gold, turquoise; England; 1890-1900 (6) 

296. Locket; peridots, diamonds, gold, plati- 
num; England; 1890-1900 (5) 

297. Brooch; sapphires, rubies, diamonds, 
pearls, gold; England; 1890-1900 (6) 

298. Bangle bracelet; gold, sapphire; England; 
1890-1900 (11) 

299. Necklace; rose quartz, gold; probably 
United States; 1890-1900 (5) 

300. Brooch, in the Hellenistic style; gold, 
enamel, pearls; Giacinto Melillo (1846- 
1915); Italy, Naples; about 1900 (6) 

301. Necklace, in the style of the III-II cen- 
tury B.C.; gold; Giacinto Melillo (1846- 
1915); Italy, Naples; about 1900 (6) 

302. Pendant; carnelian, gold; Giacinto Me- 
lillo (1846-1915); Italy, Naples; about 
1900 (6) 

303. Pair of brooches, in the style of the III-II 
century B.C.; gold; Giacinto Melillo 
(1846-1915); Italy, Naples; 1900-1910 (6) 

304. Fibula brooch, in the style of the III-I 
century B.C.; gold, enamel; Giacinto 



Melillo (1846-1915); Italy, Naples; about 
1910 (6) 

305. Fibula brooch, in the style of the III-l 
century B.C.; gold, enamel; Giacinto 
Melillo (1846-1915); Italy, Naples; about 
1910 (6) 

306. Fibula brooch, in the style of the III-I 
century B.C.; Giacinto Melillo (1846- 
1915); Italy, Naples; about 1910 (6) 

307. Necklace; gold; Giacinto Melillo (1846- 
1915); Italy, Naples; 1910-1915 (6) 

308. Necklace; enamel, pearls, diamonds, gold; 
Ren^-Jules Lalique (1860-1945); France, 
Paris; about 1900 (12) 

309. Brooch; enamel, diamonds, artificial 
pearls, gold; Ren^-Jules Lalique (1860- 
1945); France, Paris; about 1900 (12) 

310. Chain; enamel, diamonds, gold; Ren^- 
Jules Lalique (1860-1945); France, Paris; 
about 1900 (12) 

*311. Double brooch; glass, diamonds, enamel, 
gold; Ren^-Jules Lalique (1860-1945); 
France, Paris; 1900-1910 (12) 

312. Brooch; gold, onyx, pearls, moonstones; 
Hector Guimard (1867-1942); France, 
Paris; 1900-1910 (8) 

313. Pendant; gold, diamonds; Hector Gui- 
mard (1867-1942); France, Paris; 1900- 
1910 (8) 

314. Finger ring; gold, diamonds, pearl; Hec- 
tor Guimard (1867-1942); France, Paris; 
1900-1910 (8) 

315. Pendant; enamel, opal, diamonds, gold; 
Comte du Suau de la Croix; France, Paris; 
1900-1910 (9) 

316. Brooch; gold; Boucheron; France, Paris; 
about 1900 (5) 

317. Chatelaine; steel, gold; France; about 
1900 (5) 

318. Set of three studs and one pin; diamonds, 
gold, silver; Cartier; France, Paris; about 
1900 (5) 

319. Scarf pin; gold, pearl; France; about 
1900 (5) 

320. Brooch; gold, pearls; France or England; 
about 1900 (5) 

321. Pendant; emeralds, diamonds, enamel, 
gold; Carlo Giuliano (d. 1912); England, 
London; about 1900 (6) 

322. Brooch; moonstone, diamonds, gold; firm 
of Peter Carl Faberg^ (1846-1920); Russia, 
Saint Petersburg; about 1900 (16) 

323. Bangle bracelet; enamel, gold; firm of 
Peter Carl Faberg6 (1846-1920); Russia, 
Saint Petersburg; about 1900 (15) 

324. Pendant with chain; gold, diamonds, gar- 
net; firm of Peter Carl Fabergi^ (1846- 
1920); Russia, St. Petersburg; 1900-1905 
(16) 

325. Brooch, with Imperial Eagle; enamel, 
diamonds, seed pearls, gold; firm of Peter 
Carl Faberg^ (1846-1920); Russia, Saint 
Petersburg; 1900-1914 (16) 

326. Medallion, reproduction of twelfth-cen- 
tury Byzantine enamel, with chain; en- 



amel, gold, rubies, sapphires, pearls, dia- 
monds; firm of Peter Carl Faberg^ (1846- 
1920); Russia, Saint Petersburg; about 
1910 (6) 

327. Necklace with pendant; gold, pearls, 
emeralds, sapphires, enamel; Mrs. Flor- 
ence Koehler (1861-1944); United States; 
about 1900 (12) 

328. Comb; pearls, enamel, gold, tortoiseshell; 
Mrs. Florence Koehler (1861-1944); United 
States; about 1900 (12) 

329. Necklace; gold; Mrs. Florence Koehler 
(1861-1944); United States; about 1900 
(12) 

330. Pendant; sapphires, pearls, gold; Edward 
Everett Oakes (1891-); United States; 
1900-1910 (12) 

331. Pair of earrings; seed pearls, diamonds, 
gold; France; about 1904 (16) 

332. Hat pin, in form of a bird on a swing; 
diamonds, sapphires, platinum, gold; 
Cartier; United States, New York; about 
1910 (5) 

333. Brooch; silver; Georg Jensen (1866-1935); 
Denmark, Copenhagen; 1904-1912 (11) 

334. Clasp; silver, amber, malachite; Georg 
Jensen (1866-1935); Denmark, Copen- 
hagen; 1904-1912 (11) 

335. Brooch; silver, amethysts; Georg Jensen 
(1866-1935); Denmark, Copenhagen; 1904- 
1912 (11) 

336. Double brooch; silver, opals; Georg Jen- 
sen (1866-1935); Denmark, Copenhagen; 
1904-1912 (11) 

337. Hatpin; moss agate, pearl, crystal, gold; 
Tiffany and Company; United States, 
New York; about 1910 (5) 

338. Necklace; opals, enamel, gold; Louis 
Comfort Tiffany (1848-1933); United 
States, New York; about 1914 (12) 

339. Necklace; alexandrite, topazes, tour- 
malines, enamel, gold; Louis Comfort 
Tiffany (1848-1933); United States, New 
York; about 1914 

340. Earring stands; brass; United States; 
probably nineteenth century (3) 

DRAWINGS FOR JEWELRY 
{The Cooper Union Museum) 

341. Designs for four aigrettes; Italy, probably 
Florence; 1800-1815 (1940-86-164,-169,-170, 
-171) 

342. Designs for two combs; Italy; 1800-1825 
(1938-88-965,-967) 

343. Designs for a necklace and two bracelets; 
Italy; 1800-1825 (1938-88-971,-961,-7404) 

344. Designs for two combs and a bracelet; 
Italy; 1800-1825 (1938-88-684,-685,-7402) 

345. Designs for two necklaces; Italy, probably 
Naples; 1800-1825 (1938-88-974,-980) 

346. Designs for two combs and a bracelet; 
Italy; 1800-1825 (1938-88-682,-683,-7406) 

347. Designs for two combs and a bracelet; 
Italy; 1800-1825 (1938-88-772,-773,-963) 

*348. Designs for bracelet and belt (?) and four 

19 



earrings; Italy; 1805-1815 (1938-88-968, 375. 
-969) 

349. Designs for three combs; two by Felice 376. 
Giani (1760-1823); Italy, Rome; 1805-1820 
(1938-88-3094,-3095,-5016) 

350. Designs tor four combs; Italy; about 1810 *377. 
(1938-88-698 to -701) 

351. Designs for a parure and a comb; Italy, 378. 
probably Naples; 1810-1820 (1938-88-755, 

-764) 379. 

352. Design for a tiara or comb; Italy; 1810- 
1830 (1940-86-324) 

353. Designs for ornament for the hair (?), 
comb, necklace and finger ring; Italy; 380. 
from 1810-1840 (1940-86-189,-360,-577,-814) 

354. Designs for chain and rings; Italy; about 
1815 (1938-88-5254,-5253) 

355. Designs tor earrings, comb and pendant; 
Italy; 1815-1825 (1938-88-924,-925,-966, 

-972) 381. 

356. Designs for a comb and a brooch; Italy; 
1815-1830 (1901-39-758,-751) 

357. Designs for a buckle, two bracelets and 

and ornament tor the hair; Italy; 1815- 382. 
1830 (1901-39-764,-827, 1938-88-7405,-697) 

358. Designs for two combs; Italy; 1820-1830 
(1940-86-365,-432) 

359. Designs tor tour bracelets; Italy; 1820- 383. 
1830 (1838-88-690,-962,-693,-7403) 

360. Designs for three ornaments for the hair; 

Italy; 1820-1850 (1938-88-691,-692,-694) 384. 

361. Designs tor two combs; Italy; 1825-1830 
(1938-88-931,-932) 

362. Design for a tiara or comb; Italy; 1825- 

1840 (1940-86-421) 385. 

363. Design for a parure; Italy; about 1830 
(1940-86-270) 

364. Designs for two ornaments tor the hair: 
Italy; 1830-1840 (1938-88-770,-775) 

365. Designs tor two combs; Italy; 1830-1840 go, 
(1938-88-983,-984) '*'*'■ 

*366. Designs tor a bracelet, a comb and three 

earrings; Italy; 1830-1840 (1938-88-6283, ooo 
1940-86-346,-555,-557,-567) 

367. Designs for two brooches; Italy; 1830- ooq 
1840 (1901-39-762, 1938-88-767) 

368. Designs for three fillets or ornaments for 

the hair; Italy; about 1840 (1940-86-244, aqn 
-281,-299) 

369. Designs tor ornament for the hair and 
brooch; Italy; about 1840 (1940-86-257, sqi 
-631) 

370. Design for a tiara for Fanny Cerrito (1821- 

1899); Italy, Rome; 1843 (1938-88-6351) 392. 

371. Design tor a parure; Italy; 1840-1850 
(1940-86-645) 

372. Designs for two fillets or ornaments tor 393. 
the hair; Italy, probably Florence; about 

1850 (1940-86-225,-227) 

373. Designs tor a coronet and ornament for 394. 
the hair; Italy; 1850-1860 (1938-88-7479, 

-769) •395. 

374. Design for bracelet and brooch or buckle; 
Italy; 1850-1860 (1938-88-771) 

20 



Designs tor six bracelets; Salvatori; Italy, 
Rome; 1850-1860 (1938-88-6323,-6326) 
Designs tor tour pendants, three in the 
Egyptian style; Salvatori; Italy, Rome; 
about 1860 (1938-88-6318,-6319) 
Designs for two bracelets; Salvatori; Italy, 
Rome; 1860-1870 (1938-88-6324,-6325) 
Designs for nine brooches; Salvatori; 
Italy, Rome; 1860-1870 (1938-88-6328) 
Designs for twelve pendants in the Etrus- 
can and Greek styles; Salvatori; Italy, 
Rome; 1860-1880 (1938-88-6334 to 6343, 
-6349,-6350) 

Designs for: two brooches and two ear- 
rings in the Renaissance style, dated 1863; 
a bracelet, dated 1862; two bracelets each 
with matching brooch in the Etruscan 
style, dated 1855; Salvatori: Italy, Rome 
(1938-88-6296,-6282,-6278) 
Designs for six earrings, five pendants 
with four earrings and five brooches; 
Salvatori; Italy, Rome; 1869 (1938-88-6305, 
-6309,-6285) 

Designs for twelve pendants, three 
brooches and two scarf pins; Salvatori; 
Italy, Rome; 1869-1872 (1938-88-6286, 
-6290,-6317) 

Design for a necklace in the Greek style; 
Salvatori; Italy, Rome; about 1870 
(1938-88-6292) 

Designs for tour brooches and two pen- 
dants in the Greek style; Salvatori; Italy, 
Rome; about 1870 (1938-88-6297,-6298, 
-6330,-6344) 

Designs for four bracelets; Salvatori; 
Italy, Rome; about 1870 (1938-88-6279 to 
6281) 

Designs for three pendants and twelve 
earrings; Salvatori; Italy, Rome; about 
1870 (1938-88-6295,-6311) 
Designs for various brooches and ear- 
rings; Salvatori; Italy, Rome: about 1870 
(1938-88-6288,-6300,-6302,-6308) 
Design tor two pendants; Salvatori; Italy, 
Rome; 1870-1880 (1938-88-6293,-6294) 
Design tor a necklace "in the style of 
the sixth century (B.C.)"; Salvatori; 
Italy, Rome; 1870-1880 (1938-88-6327) 
Designs for eight brooches in the medi- 
eval style; Italy, probably Rome; 1860- 
1865 (1938-88-6355 to 6357) 
Designs for three finger rings and six 
brooches; Italy; 1860-1870 (1938-88-6333, 
-6345,-6346) 

Designs for brooches, tiara, pendants and 
eairings; Italy; 1870-1875 (1940-86-916, 
-921,-936 to 940) 

Designs for an ornament for the hair, 
pendants, bangle bracelet and earrings; 
Italy; 1870-1880 (1940-86-917,-909,-947) 
Designs for six earrings; Italy; about 1875 
(1938-88-6347,-6348) 

Designs for five bracelets; probably Au- 
gusto Castellani (1829-1914); Italy, Rome; 
1858-1880 (1938-88-6352,-6353) 



396. Design for a brooch; Alexis Falize (1811- set (1841-1917); France, Paris; 1900 
1898); France, Paris; 1860-1865 (1950-6-1) (1950-6-5) 

397. Design for a pendant watch; Alexis Falize 401. Design for a buckle; Eugfene-Samuel 
(1811-1898); France, Paris; 1860-1865 Grasset (1841-1917); France, Paris; 1900 
(1950-6-2) (1950-6-6) 

398. Designs for three brooches; Gustave Ban- '"'2. Design for a buckle; Eug^ne-Sanr.uel 
grand (1826-1870); France, Paris; about flgso-M) ^ ^' '' ' ^°'' 
1867 (1950-6-4) ,^q3 Design for a brooch; Eugfene-Samuel 

♦399. Designs for three brooches; Gustave Bau- Grasset (1841-1917); France, Paris; 1900 

grand (1826-1870); France, Paris; about (1954-41-1) 

1867 (1950-6-3) 404. Designs for four necklaces; United States; 

400. Design for a comb; Eugene-Samuel Gras- about 1900 (1910-44-1 to 4) 



21 



NINETEENTH CENTURY JEWELRY 



Selected References from The Cooper Union Libraries 



Allemagne, Henry Ren^ d'. Les accessoires du 
costume et du mobilier depuis le treizi^me 
jusqu'au milieu du dix-neuvi^me sifecle. Paris, 
Schemit, 1928. 3 vols. 

Antique jewelry. Antiques, vol. 54, pp. 152-156, 
Sept. 1948. 

L'art d^coratif aux Salons de 1906. Bijouterie — 
joaillerie — orttvrerie — ceramique. Paris, 
Gu^rinet, n.d. 

L'art d^coratit aux Salons de 1912. Bijouterie — 
orKvrerie — ornementation. Paris, Gu^rinet, 
n.d. 

Bainbridge, Henry Charles. Peter Carl Faberg^. 

New York, Batsford, 1949. 
Comstock, Helen. Jewels of Marie Louise. 

Connoisseur, vol. 132, pp. 210-211, Jan. 1954. 

Cooper Union Museum. Italian drawings for 
jewelry, 1700-1875; by Rudolf Berliner, New 
York, 1940. 

Darling, Ada W. American Victorian jewelry. 
American Collector, vol. 12, pp. 10-11, Aug. 
1943. 

Antique cameos and intaglios. American 

Collector, vol. 12, pp. 10-11, Nov. 1943. 

Hand motifs in jewelry. American Col- 
lector, vol. 14, p. 14, Nov. 1945. 

Mosaic, inlay and enamel jewelry. Ameri- 
can Collector, vol. 13, p. 15, March, 1944. 

Old chatelaines and sewing boxes. Amer- 
ican Collector, vol. 13, p. 14, Dec. 1944. 

Darcel, Alfred. Les arts industriels a I'exposi- 
tion de Londres; La bijouterie et la joaillerie. 
Gazette des Beaux-Arts, vol. 13, pp. 437-445, 
1862. 

Davenport, Cyril. Cameos. London, Seeley, 
1900. 

D'Otrange, M. L. The exquisite art of Carlo 
Giuliano. Apollo, vol. 59, pp. 145-152, June, 
1954. 

Evans, Joan. A history of jewellery, 1100-1870. 
New York, Pitman, 1953. 

Flower, Margaret. Victorian jewellery. New 
York, Duell, Sloan and Pearce, 1951. 

Holmes, Charles. Modern design in jewellery 
and tans. London, Studio, 1902. 

Kunz, George Frederick. The curious lore of 
precious stones. Philadelphia, Lippincott, 
1913. 

22 



Kunz, George Frederick, and Stevenson, Charles 
Hugh. The book of the pearl. New York, 
Century, 1908. 

Laurvik, J. Nilsen. Ren^ Lalique. New York, 
Haviland, 1912. 

Lenormant, Francois. Mus^e Napoleon III; 
Collection Compana, les bijoux. Gazette des 
Beaux-Arts, vol. 14, pp. 152-163, 1863. 

Liitzow, Carl von. Kunst und Kunstgewerbe 
auf der Wiener Weltausstellung, 1873. Leip- 
zig, Seemann, 1875. References to Castellani, 
pp. 130, 233, 324. 

Mantz, Paul. Recherches sur I'histoire de 
I'orf^vrerie fran^aise, p^riode moderne. Ga- 
zette des Beaux-Arts, vol. 14, pp. 534-550. 
1863. 

M'Cormick, William B. Art of France's mMai- 
lleurs. International Studio, vol. 77, pp. 201- 
204, June, 1923. 

Paris. Exposition Universelle, 1889. fitudes et 
rapports sur la bijouterie, la joaillerie, 
I'orffevrerie . . . et rapport de la commission 
administrative. Paris, Chambre syndicale de 
la bijouterie, 1890. 

Paris. Exposition Universelle, 1889. Jury inter- 
national. Rapports du jury international; 
Classe 24, Orffevrerie. Rapport de M. L. 
Falize. Paris, Imprimerie nationale, 1891. 

Pattern book for jewellers, gold- and silver- 
smiths. London, A. Fischer, n.d. (ca. 1860). 

Pelka, Otto. Bernstein. Berlin, R. C. Schmidt, 

1920. 
Ryley, Arthur Beresford. Old paste. London, 

Melhuen, 1913. 

Schlodhauer, Charles. Elements de bijouterie 
et de joaillerie, modernes et anciennes. Paris, 
Morel, 1864. 

Smith, Harold Clifford. Jewellery. New York, 
Putnam, 1908. 

Snowman, Abraham Kenneth. The art of Carl 
Faberg^. London, Faber, 1953. 

Tiffany, Louis C. The art work of Louis C. 
Tiffany. Garden City, N. Y., Doubleday, 
Page, 1914. 

Vever, Henri. La bijouterie frangaise au XIXe 
siMe. Paris, Floury, 1906-08. 3 vols. 

Weil, Milton. Catalogue of postclassical cameos 
in the Milton Weil collection, by Ernst Kris. 
Vienna, Schroll, 1932. 

Whitney N. Morgan 



CONTRIBUTORS 



To the Exhibition 



Anonymous (1) 

Frederick William Bradley (2) 

The Brooklyn Museum (3) 

Chicago Historical Society (4) 

The Cooper Union Museum (5) 

Martin J. Desmoni (6) 

Raphael Esmerian (7) 

Madame Hector Guimard (8) 

Melvin Gutman (9) 

Miss Marian Hague (10) 

Georg Jensen, Inc. (11) 

The Metropolitan Museum of Art ( 1 2) 

Mr. and Mrs. Elwood T. Montgomery (13) 

The Museum of the City of New York (14) 

Mrs. Frances Schillinger Shaw (15) 

A La Vieille Russie, Inc. (16) 



23 



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